Noh props

On the Noh stage, from right to left, are the Noh flute, kotsuzumi (small hand drum), otsuzumi (large hand drum), and taiko (drums). When you visit a Noh theater, you will see the players take their seats with their instruments before the performance begins. This is the same as in a Western orchestra or quartet. However, the instruments of the Japan Quartet, which consists of the Noh flute, kotsuzumi, otsuzumi, and taiko drums, are not tuned in a common way. It is not that they are not tuned, but that they are not tuned.
The Noh-kan is a 40-centimeter transverse flute made of shino-chiku (bamboo), an air reed-like wind instrument with seven finger holes, but because each flute is slightly different from the others, mutual tuning is impossible. So it is not possible to play in an ensemble that creates a resonant mode. It is the way it is made.
The reason for this is that there is a “throat” between the singing mouth and the frontmost finger hole. The throat is a thin bamboo tube about two millimeters thick, which makes it difficult for the breath to pass through. This makes it difficult to play the Western average scale, let alone match the sound with other Japanese instruments. Moreover, each pipe is slightly different in tone. The player then uses the hukura, seme, and hishigi to overcome these difficulties and produce his own unique sound.
The hukura is used to produce the low “ro” sound, the seme is used to produce the high “ko” sound, and the hishigi is used to produce a higher, more piercing sound. There are two types of hsigis: the kata-hsigi, which is blown with a “hee” sound to draw out the entire range of the windpipe, and the twin-hsigi, which is blown with a “hee-ya-hee” sound to draw in the outside wind. The twin hishigis are often said to be the sound of a divine descent. The leader of the Noh quartet is such a flute. It is quite different from the first violin in an orchestra. In general, the Noh quartet must perform “ondori” (sound-taking) each time, so that the other performers do not know how they are going to do that day.

 

The kotsuzumi must be wetted from time to time to produce a good sound. This percussion instrument is made by stretching horsehide over a cherry wood body and fastening it with a hemp cord called a choo-o. The sound of the sound varies depending on the degree of wetness. The sound varies depending on how wet the skin is, so players sometimes moisten their fingers with their mouths on stage. On the other hand, the dryer the skin of the large tabor, the better the sound. So, in the old days, players would roast the tabor on a charcoal brazier in their dressing rooms, and in recent years, they dry it with a hair dryer until it is as dry as possible before going on stage.
This is why Japanese instruments are so self-indulgent. In addition, the players of the kotsuzumi and ootsuzumi are always shouting “ee-yah,” “ee-oh,” and “hyah” to keep the beat. The sound of the player’s beating is mixed with the vocalization of the player. This is also impossible to tune.
However, what makes it a unique ensemble in spite of such a mess is that the secret of Japanese geido is that the “meeting” on the spot at the stage site becomes music (the word “meeting” has its origin here). (This is where the word “meeting” originated.) It is here that the unique “kata” (form) has been passed down from generation to generation.